Tuesday, 20 December 2016
What If? Metropolis, Reflective Statement
Taking up this second project has proven difficult, especially when looking at the technical requirements shown by Maya. Looking back upon the 'Invisible Cities' project I have found that my confidence using Adobe Photoshop as a less conventional art tool has gone up. Visually conceptualising the city has also proven long and difficult but rather fulfilling as assets were brought together for one shot. Overall I have found that my weakest point in this project is my technical proficiency with Maya. As a result I must make it my goal to improve upon this issue resolving problems with texturing and modelling.
Suspiria - Film Review
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| fig.1 film poster |
Directed by Dario Argento, ‘Suspiria’ is a 1977 Italian horror film that consists of rather disturbing
scenes for the time of its conception. “It
naturally follows that Argento's true strength as a filmmaker is his direction
of murder scenes, and the occult deaths presented here are among the bloodiest
and hardest to take in horror history” (Firsching, R. 1997). In a
combination of notable technical aspects of the film ‘Suspiria’ has become a well-known piece of work within the film
industry. Described as a master piece by some the film has been considered as a
cult classic using elements of design within sound, set and lighting to bring
out the fear factor in the film.
The film follows the protagonist Suzy Bannion, a ballet student
who has just arrived at a dance school in Freiburg, Germany. From this point a
number of strange events occur including the death of several students, maggots
falling through the ceiling and tales of witches. In the end Suzy kills the
queen witch and escapes the academy along with the violence that followed it.
Firstly, focusing upon ‘Suspira’s’
art direction, Argento has chosen to takes
up a far more abstract point of view upon its lighting and set design. “Bright blues and deep reds and sickly
yellows invade the frame, creeping in from around corners, shining through
curtains, and bouncing off walls from light sources that simply cannot exist”(Hall,
J. 2016), as stated by Hall the lights that produced both in position and
colour are unnatural and describe an unrealistic scene. Instead this acts as a
device that provokes a specific thought or feeling within the viewer. In times
of danger red is used hinting towards the hazard around the corner being one of
the more common colours used during run time. Green is also used in addition to
the colours mentioned above, although used in a different manor with the intend
of signifying an imminent death however its rare appearance means that it is
something that truly alerts the audience.
These brighter, primary colours are married with sets filled
with translucent material, glass or reflective surfaces ultimately leading to
more beautiful shots. Despite the striking nature of the obscure lights merging
into the darkness the lights still led to the horror nature of the film. As the
colours are changed subtly with the set the audience will notice these little
changes that would put them on guard with expectation of the following events.
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| fig.2 corridor lit red |
In all ‘Suspiria’
can be regarded as both a beautiful and suspenseful horror film that is capable
of gripping on to its viewers.
Bibliography
French, P. (2010) Classic DVD; Suspiria
https://www.theguardian.com/film/2010/jan/31/suspiria-classic-dvd-philip-french
Firsching, R. (1997) Suspiria
http://www.imagesjournal.com/issue05/infocus/suspiria.htm
Hall, J. (2016) Why 'Susipira' is the Craziest, Most Colourful Bad Dream You'll Ever Watch
https://www.theguardian.com/film/2010/jan/31/suspiria-classic-dvd-philip-french
Illustration list
fig.1 Website
http://images.moviepostershop.com/suspiria-movie-poster-1977-1000436044.jpg (accessed 19/12/16)
fig.2 Website
https://www.acheronbooks.com/img/cms/Suspiria/Suspiria5.jpg (accessed 19/12/16)
Friday, 16 December 2016
Thursday, 15 December 2016
Saturday, 10 December 2016
Artist toolkit - flash, Four Legged Walk Cycle (09/12/16)
For Friday's lesson the class was required to create a walk cycle for a four legged creature. This was done with a more festive theme in mind. The chosen animal was a wolf going at a leisurely pace. The final GIF shown has a slightly higher frame rate in mind but still contains the required walk cycle.
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| Final wolf animation |
The base model for the wolf was taken from a template of a four legged animal, the rest of frames for the cycle was completed through guess work. After this process was completed the body was drawn into place using the reference.
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| drawing template for wolf |
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| Final frames for wolf in motion |
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| Adding scene and snow |
Thursday, 8 December 2016
Artist Toolkit - Life Drawing (07/12/16)
Despite lacking a life model for the lesson we were still capable of producing some drawings. This was done by observing stills from Hitchcock's film, 'The birds'.
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| Composed drawing |
Artist Toolkit - Maya, Lighting (05/12/16)
For this Maya task we were informed and instructed on how to create effective lighting to match the time of the day. The sky and the house were rendered separately in order to produce separate layers allowing for the layers to be complied in Photoshop.
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| Final image rendered for day scene |
The first render has been created with a day scene in mind, below the angle of the lights and colour have been changed in order to better fit a sun set scene.
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| Adjusted image for a more rosy sunset scene |
Monday, 5 December 2016
Artist toolkit - flash, Jumping and Throwing (02/12/16)
For this week's Adobe flash animation the class was asked to record two actions, one of us throwing an object and another one of us jumping. The reasoning for this was to use these videos as reference to help build anticipation in our animations.
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| Jumping animation |
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| Throwing animation |
Saturday, 3 December 2016
The Shining - Film Review
The Shining film review
 |
| fig.1 film poster |
Directed by Stanley Kubrick, 'The Shinning' is a 1980 British-American film focusing on themes
of loneliness and isolation. As expected from a Kubrick film there is strong
use of the rule of thirds amongst other devices, both old and new. The
resulting product has created a lasting impression on popular culture retaining
the same value in cinema today as it did in the 90s.
Based upon Stephen King’s 1997 novel under the same name, ‘The Shining’s’ plot follows a family of
three as they move into a hotel for the course of several months. During this
time the father, Jack Torrance slowly becomes more unstable, acting more
aggressively towards his family. This results in the attempted murder of his
child, Danny and his wife, Wendy. Fortunately the two escapes with Jack freezing
to death. The film ends on a photograph featuring jack dated 1921.
One reoccurring theme that appears in Kubrick’s work is the
effective use of suspense to hold the audience’s attention. The ‘The Shining’ proves especially
effective in this area as the film falls within the psychological horror film
genre. Despite being tame in comparison to the horror films produced in this
day and age ‘The Shining’ remains
culturally relevant retaining the same appeal it had during the day of its
release. This can be attributed to its use of more practical effects and camera
work which can be exhibited in the elevator scene.
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| fig.2 elevator scene creating use practical effects |
Regarding how the ‘The Shining’ was filmed, Kubrick had
decided to use a gimbal in order to stabilize the camera for far smoother
tracking shots. A notable example of the use of this relatively new technology is
when the camera is tracking Danny as he rides his tricycle through the halls.
“There's pure
inspiration simply in the scene in which young Danny (Danny Lloyd) rides his
tricycle around the endless corridors, the wheels thundering on the wooden
floor, then suddenly quiet over the carpets” (Bradshaw, 2012)
This scene proves especially effective as the tracking for
the camera has a far more spectral feel tracing the steps of the boy as if the
point of view is hovering with Danny. The use of this more ‘spectral’ tracking
shot means that we are limited in the way we see round corners and hallways. In
this case the visual is married with more obscure yet striking sound design.
The silence only acts as a reminder of the lack of people in these open halls
only to be broken by presence of the small family. This concept is mirrored
throughout the film with a lack of music or background noise in certain scenes.
Examples includes jack throwing his baseball and his use with a type writer.
“Then they're alone,
and a routine begins: Jack sits at a typewriter in the great hall, pounding
relentlessly at his typewriter” (Ebert, 2006)
Not only does Kubrick make effective use of silence but also
uses of a rather memorable sound track. These pieces tend to be more simple consisting
of fewer instruments and obscure noises matching the lonely nature of the hotel.
Assisted by the timing the sound is brought together with the shots to hint
towards the viewer of the sense of an impending fate. Despite the lack of true
horror factors the film retains a large amount of suspense through these
components.
As always with Kubrick’s films the ending remains unclear
and ambiguous with the antagonist being displayed in the old photograph. Paired
with the previous events it is uncertain whether or not the story being told is
from a reliable source. As stated by Ebert, ““The
Shining" challenges us to decide: Who is the reliable observer? Whose idea
of events can we trust?” (Ebert, 2006). With this the ending remains open
for interpretation and as such have been received in various ways. ‘The Shining’
is not a simple a film that is seen and enjoyed but requires more intelligent
thought. As shown by the documentary ‘Room 237’ many individual theories have
been spawned from this single film.
It is never clarified if the following events are due to
isolation and madness or more super natural causes. Despite this the film
remains as an example of effective camera work, sound design and timing,
leaving a lasting impression on pop culture.
Illustration List
fig.1, Website
http://thefoxisblack.com/blogimages//saul-bass-the-shining-film-poster-1.jpg (accessed 03/12/16)
fig.2, Website
http://65.media.tumblr.com/tumblr_m067y75GXP1rnn734o1_500.jpg (accessed 03/12/16)
Bibliography
Bradshaw, Peter (2012) The Shining - Review
https://www.theguardian.com/film/2012/nov/01/the-shining-review (accessed 03/12/16)
Ebert, Roger (2006) The Shining
http://www.rogerebert.com/reviews/great-movie-the-shining-1980 (accessed 03/12/16)
Thursday, 1 December 2016
Artist Toolkit - Life Drawing (30/11/16)
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| Warm up drawing 20 minute study |
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| 5 poses ranging from 2-5 minutes |
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| Add caption |
Monday, 28 November 2016
Saturday, 26 November 2016
Repulsion - Film Review
Repulsion Film Review
 |
| fig.1 Film poster |
Directed by Roman Polanski, ‘Repulsion’ is a 1965 British horror film that follows a virgin who
is afraid of contact with the opposite sex. Regarded as “one of Roman Polanski's most brilliant films” (Bradshaw, 2013), ‘Repulsion’ has a blend of both
disturbing story writing and notable camera work. Being the first of the three
films from Polanski’s “Apartment Trilogy” (with the other two being ‘Rosemary’s Baby’ (1968) and ‘The
Tenant’ (1976),) the majority of the film takes place in an apartment
building which is utilised by Polanski to create effective scenes.
The story features a young woman, Carol Ledoux, who is
living with her sister during the 60s. Afraid of intimacy Carol’s state of mind
begins to deteriorate as her anchor, the sister leaves to go on holiday. Eventually
this leads to a spiral of madness ending with the killing of two men and Carol being
left in a catatonic state.
Firstly focusing on the protagonist herself Carol, who is
played by Catherine Deneuve, is placed in an odd situation. The main character
could be described as a sexually appealing woman as she attracts the gaze of men
around her however for the protagonist, who has extreme androphobia this acts
as a curse. As a result this creates a rather empathic character who is struggling
to deal men during a time of sexual uprising. It is thanks to both actor and
director that the audience is drawn to Carol’s side despite the horrific actions
that are committed by the character. It is difficult to decide whether or not Carol
truly is the protagonist towards the end of the film.
Observing the character in context it appears that Carol was
destined to fail, signified from the start she is an outsider or foreigner. This
can be accepted in both ability to function within society and terms of family origins.
In relation to Polanski he himself is an outsider coming in from a foreign
country. It can be implied that Polanski portrays some of his own feelings into
this character.
Polanski uses a mix of several different devices to being
out Carol’s insanity making it clear for the audience to understand in a visual
manor. One of the signs that appears is the twisted perception of the rooms
giving a sense of unease that can be attributed to the camera work as the once familiar
bathroom becomes cold and strange. Polanski continues to add rather unnerving scenes
including that of violent delusions showing Carol being raped. What makes these
scenes particularly effective is the sound design. Rather than using the sounds
of struggle all noise is exempt apart from the lone ticking of a clock. Portrayed
in near silence the audience has only the disturbing imagery to focus on. In
the background the ticking adds tension forcing the viewers to count every
second. Strange imagery continues to appear with bizarre organic walls, dark
figures appearing in mirrors, hands bursting out from the wall and groping
carol and large cracks forming in the walls. All signs indicating the breakdown
of Carol’s psyche.
 |
| fig.2 Cracks forming in the wall |
Adding to the sense of fall from reality and lack of
rational thinking is the devices used by Polanski to hint towards the passing
of time. “Polanski also dresses the film
with pertinent details that further exemplify both Carol’s madness and the
aching passage of time: Potatoes sprout in the kitchen, meat (rabbit meat, no
less) rots on a plate and eventually collects flies” (Morgan, 2011), with
the audience subtly hinted towards the passing of time one begins to wonder how
much has truly pasted leaving feelings of doubt and insecurity.
While effective as a psychological horror film, Polanski has
also highlighted the uncertain nature of psychological illnesses. Created
during the 70s, schizophrenia had yet to be understood despite this ‘Repulsion’ gives an accurate depiction of
the illness for the time. The penultimate scene that is shown acts as a
metaphor regarding the lack of knowledge or inability to appropriately deal
with schizophrenic patients. Ultimately Polanski leaves the audience with an
unnerving feeling, misplaced feelings for a violent character and insight into
a psychologically disturbed mind.
Illustration list
fig.1, website
http://images.moviepostershop.com/repulsion-movie-poster-1965-1010434006.jpg (accessed 26/11/16)
fig.2, website
https://lefthandhorror.files.wordpress.com/2012/10/repulsion6.png (accessed 26/11/16)
Bibliography
Bradshaw, Peter (2013) Repulsion - Review
https://www.theguardian.com/film/2013/jan/03/repulsion-review (accessed 26/11/16)
Morgan, Kim (2011) Roman Polanski Understands Women: Repulsion
http://www.huffingtonpost.com/kim-morgan/roman-polanski-understand_b_301292.html (accessed 26/11/16)
Black Narcissus - Film Review
Film Review-Black Narcissus
 |
| fig.1 Film Poster |
‘Black Narcissus’
is a 1947 film, directed by Michael Powell and Emeric Pressburger which is
based upon Rumer Godden’s 1939 novel with the following name. While the film can be acknowledged for many attributes from the juxtaposing set design to
symbolism the most notable feature is the use of techniques to form awe
inspiring shots.
The story revolves around a convent of nuns who have been
sent by their order to perform charity work for the local people of the
Himalayas. To help set up the school and hospital the local British agent, Mr
Dean, is sent to assist the group. With the involvement of the local people and
remote location the nuns slowly lose sight of their true aim and path with God.
Dean’s influence on the group eventually
leads to the death of one of the nuns, Sister Ruth, leading Sister Clodagh and
the rest of the group to leave the Himalayas.
Firstly, looking at the technical elements of the film one
of the most notable features is the use of camera tricks to flesh out the
scene. Despite being set in the Himalayas the film was captured and completed
in England. To achieve one of the most effective shots (fig.1) a matte painting
is used to acquire an in depth and rather believable illusion. It is only on
closer inspection that one can see through the painting giving a sense of
grandeur and space in combination with the well placed camera angle.
 |
| fig.2 cliff scene |
 |
| fig.3 before matte painting |
“Civilized, worldly, daring and obliquely discreet in
conveying the gradual disintegration of the nuns’ psyches” (Haver, 1998),
another notable factor within ‘Black Narcissus’ is the underlying theme of the
film. As the nuns set out to complete the task that has been given to them difficulties
begin to arise with increasing sexual
tension adding to the friction between the Sisters. Both Powell and Pressburger
make great use of symbolism throughout the film, some more subtle than others
they all relate to the inner demons that the Sisters collectively carry.
With the use of Technicolor the matte paintings are brought
to life and only enhance the symbolism in a range of hues. An effective scene
that highlights both the use of colour and symbolism is the application of
lipstick by Sister Ruth. “An unsurpassed showcase for the possibilities of
Technicolor — heightens the very meaning of the story, as a slash of red
lipstick clashes with the bleached white” (Thomas, 2005), with lipstick being
used to attract another by highlighting one’s sexual appeal the action of
reddening the lips indicates Ruth’s loss of control over her sexual desires.
Not only does the use of colour draw the viewer’s attention to the character
but also portrays the clash between the path of God and inner desire. At one
end Ruth stands in her dress that describes her figure while Clodagh stands in
her baggier white nun tunic. While never directly stated being only hinted at,
the true nature of the film becomes clear, “It's holiness against the libido,
civility against the wild, control vs. desire.” (Mirasol, 2010).
 |
| fig.4 application of lipstick |
The symbolism goes on with one of the Sisters planting
flowers rather than vegetables. As the flowers bloom a colourful display of
nature is shown, one that is purely for the act of reproduction juxtaposing the
purpose of the vegetables which is solely for consumption. When interpreting the
scene for what is there one can see a nun losing herself to the beauty of nature
forgetting about purpose and reason. Another interpretation is that with the
flowers in full bloom she is losing herself to lust.
In the end Powell and Pressburger’s film, ‘Black Narcissus’
is one that indirectly provokes thought about the balance of ‘control and desire’.
At the same time it also displays a large range of technical marvels to
accompany these concepts leading to a visually appealing piece.
Illustration list
fig.1, Website
http://assets.flicks.co.nz/images/movies/poster/70/70afbf2259b4449d8ae1429e054df1b1_500x735.jpg (accessed 26/11/16)
fig.2, Website
https://filmgrab.files.wordpress.com/2010/11/22-cliff.png?w=768 (accessed 26/11/16)
fig.3, Website
https://67.media.tumblr.com/tumblr_lz246wiYpN1qzdvhio1_500.jpg (accessed 26/11/16)
fig.4, Website
https://bsagmanli.files.wordpress.com/2014/05/1940s-lipstick-kathleen-byron-in-black-narcissusa-300x225.jpg (accessed 26/11/16)
Bibliography
Haver, Ronald (1998) Black Narcissus
https://www.criterion.com/current/posts/870-black-narcissus (accessed 26/11/16)
Mirasol, Michael (2010) "BLACK NARCISSUS," WHICH ELECTRIFIED SCORSESE
http://www.rogerebert.com/far-flung-correspondents/black-narcissus-which-electrified-scorsese (accessed 26/11/16)
Thomas, William (2005) Black Narcissus Review
http://www.empireonline.com/movies/black-narcissus/review/ (accessed 26/11/16)
Friday, 25 November 2016
Artist Toolkit - After Effects, Savanna Panorama Animation (25/11/16)
For the Adobe After Effects lesson the class was taught how to utilize the layers of an Adobe Photoshop file to create a series of moving images. The series of layers was firstly created in Photoshop portraying a savanna scene. The file was brought into After Effects before being treated as a 3D image to add depth.
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| Final layers composed on top of each other |
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| Savanna panorama layers |
Thursday, 24 November 2016
Monday, 21 November 2016
What If Metropolis, Travelogue (Revision No.1)
Travelogue-Veteris (artist: Peter Voulkos)
Those not local to Veteris would be given a single
indication that they were within bounds of the city. A lone arch stood at least
10 metres tall made of stone. Oddly shaped it give a small insight into
Veteris’ more ‘obscure’ architecture. Beside this gate there were no walls, it
simply stood as a reminder for any passer-by of the city’s unique mind set on
design.
Never static, ever building, ever changing and never afraid
to stray from what has already been accepted; Veteris was a different kind of
place. The biggest influence that the people have held in their hearts was
their collective living space.
After the joining of two families both groups would follow
the tradition of constructing a new home. This was done by taking apart their
own homes and bringing in the combined materials forming a new structure. Over
time the living space would grow larger, stretching towards the sky.
Upon closer inspection the tall buildings appear to be
formed from multiple shapes. Intricate layers folding into each other, curved walls
revolving around the base and sporadic shapes sprouting out from the ground,
each part carefully balanced contributing to the building.
It was over time the people forgot how their skyscrapers,
their houses and their homes looked like. Eventually the conventional,
conforming buildings began to fade away with time. The architecture changed yet
no one noticed. Families took great pride in the formation of their new homes
pushing the design in both function and aesthetics. With the households living
within close proximity of each other one can only admire at their neighbour’s
construct. Each rebuilding led to a revised structure, improving from the
previous one, improving the city as a whole.
Resulting in the culmination of the years gone by and
reshaping of the city, no home was the same. This was not taking into account
of the individual changes made by those who lived inside. With the buildings
being made from the same material throughout the entire width it makes it
difficult to differentiate between the functional and atheistic layers. It was
the small differences that would describe the family who lived inside. Despite
this one rule always stood true in Veteris’ society, the larger the building
the bigger the family and thus the more power they held.
Connecting all the buildings were bridges carrying flowing
water. Bound to every building, these aqueducts act as the main source of
income with goods being imported and exported between the surrounding cities. Goods
come from outside to the largest of the buildings before having a portion sent
to next biggest buildings. This would continue until the smallest of families
received what was need. As the littlest of families are unable to take part in
the trade they contribute through other means preparing food, crafting clothes,
providing medical care and so on. Without each other both the largest and
smallest of the families would suffer. Not only did these aqueducts bring in necessities
for living but also connected the collective families.
It was for this reason the tall structures not only acted as
a home for families but also as a way of living, providing the much need food,
water and essentials. Each ‘house’ connected to another through one form or
another, rely upon another. The flowing water moving goods also serving as a
form of transportation between houses with as many boats carrying people as
there were commodities.
Even with the designs forming wild and constructive shapes
advancing the form there were still limitations. One such limitation was the
material that was available from the previous houses. As a result the new age
designs juxtaposed the material that was used in conjunction. The varying angles that the layers draw from
are crafted from reconstituted materials that have been adhered to each other
using different techniques. All structures are of the same worn, dense sturdy
and bone like material. Never the less the walls have stood the ages always
proving its worth when needed withstanding the rain, wind and storms.
Alongside the buildings, tall structures protruded from the
ground. Often found in the same style as that of the building they stood by, chains
of lamps would be hung. Others would draw themselves higher in order to hold up
the aqueducts. Laced around the angular paths of the city one’s eye would be easily
drawn up to meet the man-made objects above them. Much like the inhabited
structures the material appeared to be of a solid material, worn away by the
time. Sturdy enough to be held in the patterned brick pavements yet well
balanced, these lamps lit the city for all to see at night.
What If Metropolis, thumbnails 110-153 (20/11/16)
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| no. 110-115 building |
 |
| no. 116-121 building |
 |
| no. 122-127 |
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| no. 128-129 framing shot |
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| no. 130-131 framing shot |
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| no. 132-133 framing shot |
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| no.134-153 lamp post design |
Saturday, 19 November 2016
Artist Toolkit - Maya, Alley Part 1 (18/11/16)
The Maya set desgin task required the class to model an alleyway with the orthographic images already provided. The first component to be modelled was the walls of the alley way including the window and arch.
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| Alleyway with poster on the wall |
This was followed by the lamp post which is to modelled in an individual scene and added at a later date.
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| Modelled lamp post carrying the inititals A & P |
Finally the crates were modelled but only a small section. This was to ease texturing as the part could be replicated to form a complete crate.
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| Corner section of the box, ready to be modelled and textured |
Artist Toolkit - Flash, Running Man (18/11/16)
Following on from last week's exercise the class explored the movement required to create a running animation. This action was completed within 7 frames from point of contact to taking off. In comparison to the walk cycle the total time to animate was far shorter. Despite this reduction in frames I found the task far more difficult having fewer frames to smooth and perfect the animation.
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| Template and frame count for the 7 beat cycle |
As a result of having a too shallow curve the cycle is not dramatic enough when accentuating the movement of running.
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| Finished running man |
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